Re: [Hornlist] Tongue Tied
I haven't had experience with a horn student with this problem, but I have known people with this condition who had problems in some languages (such as Spanish) because they can't do a rolled "R". For horn playing, this might mean they couldn't do a flutter tongue (but how often do we have to do a flutter tongue, anyway?). Hope that helps, Susan Thompson -Original Message- >From: Dawn McCandless <[EMAIL PROTECTED]> >Sent: Sep 30, 2008 1:08 PM >To: horn@music.memphis.edu >Subject: [Hornlist] Tongue Tied > >Have no idea what the medical term is for it now. A young person wants to >learn to play the horn. He has that extra skin on the bottom of his tongue. >The doctors left it there since it wasn't affecting his speech. He can touch >the back of his teeth and can reach his tongue at least to his lower lip. >Has anybody experienced this either personally or with a student? Will it >affect his playing or slow down how fast he can tongue rapid passages? >Any good advice will be helpful. His parents don't want to let him get too >excited about taking up the horn if it is something that will be >impossible for him. Yet, we don't want to totally discourage him if he will be >able to play regardless of the problem. > >Thank You. >DMM >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: NY Times horn feature
But Shaw wasn't "just" a critic -Original Message- >From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> >Sent: Aug 13, 2008 5:18 PM >To: horn@music.memphis.edu, [EMAIL PROTECTED] >Subject: Re: [Hornlist] RE: NY Times horn feature > > >At 2:02 PM -0700 8/13/08, Bill Tyler wrote: >Add this quote by Sibelius ... > >Pay no attention to what the critics say; there has never been set up a >statue in honor of a critic. > > >May I point out there is a statue of George Bernard Shaw. Must have been >erected after Sibelius' quote above. > >http://www.pbase.com/steveyaphotos/image/87512476 > >Regards, Carlberg > > > > >mail2web - Check your email from the web at >http://link.mail2web.com/mail2web > > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Gershwin (was Re: for no one)
The version I heard was that it was Nadia Boulanger that Gershwin approached for lessons... -Original Message- >From: Debbie Schmidt <[EMAIL PROTECTED]> >Sent: Jun 3, 2008 10:12 AM >To: The Horn List >Subject: Re: [Hornlist] Re: for no one > >Gershwin asked Ravel and I am pretty certain the number was $100,000 >A huge sum ... Swanee (sp?) was a huge hit. >Debbie Schmidt Sent from my iPhone > >On Jun 3, 2008, at 1:00 PM, "Jonell Lindholm" ><[EMAIL PROTECTED]> wrote: > >> This is usually atrributed to Ravel. See >> http://en.wikipedia.org/wiki/George_Gershwin >> >> On 6/3/08, Computer Intelligence LLC <[EMAIL PROTECTED]> wrote: >>> Well there was a story about Gershwin I heard many years ago >>> that >>> went something like this. Somebody may be able to fill in the >>> details. The >>> way I heard it was that at some point after he was established as a >>> composer >>> he decided that it was time for him to learn proper orchestration >>> techniques. So he applied to a well-known composition instructor >>> (in the >>> Paris Conservatory, I believe). The instructor asked Gershwin how >>> much money >>> he made the previous year to which he replied $20,000 (a huge >>> amount back >>> then). The instructor then replied that Gershwin should teach him >>> how to >>> orchestrate. >> [snip] >> >> -- >> >> Jonell Lindholm >> Reisterstown MD USA >> [EMAIL PROTECTED] >> ___ >> post: horn@music.memphis.edu >> unsubscribe or set options at >> http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Fw: Wiener Waldhorn Verein (WWV) 2008 Catalog
Please excuse the double posting. FYI, I have uploaded the files mentioned below to the Yahoo group file area (http://launch.groups.yahoo.com/group/horn/files/) All the best, Susan Thompson -Forwarded Message- >From: Susan Thompson <[EMAIL PROTECTED]> >Sent: Feb 21, 2008 8:20 AM >To: [EMAIL PROTECTED] >Subject: Wiener Waldhorn Verein (WWV) 2008 Catalog > >Hello, > >I just got the 2008 Catalog of the Wiener Waldhorn Verein (WWV) from >Roland Horvath. > >If you are looking for ensemble music that includes horn(s), you might want to >investigate this catalog. With Roland's permission, I have uploaded the >documents he mentions below in the files area of this group in a folder called >2008 WWV Catalog. > >All the best, >Susan Thompson > >>Dear Susan! >> >>This year, I am sending the WWV catalog for the first time by e-mail. You will >find it in four different forms: >> >>1. Kat08 >>This is the usual catalog according to the instrumentation. >> >>2. Listen08 >>This is the catalog according to the WWV numbers. >> >>3. Komp08 >>This is the composers' list. You can easily guess whether it is a single >booklet or a combination of pieces, looking to the price in Euros. >> >>4. Werk08 >>This is the catalog according to the names of the pieces. >> >>Additionally, I send a list of all the new editions of 2008 (Neo08). >> >>I hope this is a good information for you! I can imagine that it is >>interesting >for you to see how many different pieces of music we were able to edit. >> >>Mit vielen lieben Gruessen aus Wien. >> >>Roland >> ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Slur - or phrase marking?
In my opinion, the best practice would be for editors to stop putting in "phrase markings". Susan Thompson -Original Message- >From: Herbert Foster <[EMAIL PROTECTED]> >Sent: Jan 14, 2008 12:26 PM >To: The Horn List >Subject: Re: [Hornlist] Slur - or phrase marking? > >That's what I always thought, but I've had a well known teacher say it's >always a slur. The piece in question was Pavanne For a Dead Princess. > >Herb Foster > >- Original Message >From: Paul Mansur <[EMAIL PROTECTED]> >To: The Horn List >Sent: Monday, January 14, 2008 9:31:21 AM >Subject: Re: [Hornlist] Slur - or phrase marking? > > >In a word, you judge from the context. There are all sorts of clues, >tempo, style markings, etc. > >Paul Mansur > >On Jan 14, 2008, at 5:26 AM, Graham Jarvis wrote: > >> Hi >> I can't believe I've ben playing the horn for as long as I have >> without having cleared this question up but better late than never. >> >> How do I know whether a curved line over (or below) a series of >> denotes is meant to denote a slur (notes connected without >> tonguing) or a phrase-mark (notes connected musically but not >> ruling out tongued articulation between notes)? >> >> The issue arose when I was looking at the Concone studies which I >> recently bought. But thinking back over rcent orchestra rehearsals >> I can remember times when I've made decisions based in instinct >> rather than theory. >> >> Are there rules out there? >> >> Regards, >> Graham >> >> -- >> Jag använder gratisversionen av SPAMfighter för privata användare. >> 2333 spam har blivit blockerade hittills. >> Betalande användare har inte detta meddelande i sin e-post. >> Hämta gratis SPAMfighter här: http://www.spamfighter.com/lsv >> >> >> ___ >> post: horn@music.memphis.edu >> unsubscribe or set options at http://music2.memphis.edu/mailman/ >> options/horn/p_mansur1%40comcast.net > >___ >post: horn@music.memphis.edu >unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > > > > > > > >Be a better friend, newshound, and >know-it-all with Yahoo! Mobile. Try it now. >http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Elliot Carter Horn Concerto
I agree that valve oil is more interesting...even when I'm playing natural horn. --Susan Thompson Kendall Betts wrote: Personally, I don't care much for Elliot Carter's music. Valve oil and it's related subjects are more interesting. Anybody agree? KB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Braces
I second Aleks' suggestion and would suggest other alternatives such as: Voice lessons Ballet lessons Music theory lessons Aleks Ozolins suggested: >Piano lessons! > >On Oct 5, 2007, at 2:32 PM, Alon reuven wrote: > >> Hello all, >> A student of mine is about to put braces on her teeth . Does any >> one have >> any Idea about expected difficulties and solutions ? >> Alon Reuven ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: movie music vs ballet, opera, etc. (was What the heck?)
An important difference between movie music and ballet or opera is that typically movie music is written after filming is complete. A movie music composer has little or no control over what happens when (compared to opera and ballet), whereas opera and ballet composers are famous for re-arranging (and on occasion re-writing) libretti. --Susan Thompson -Original Message- >From: Jeremy Cucco <[EMAIL PROTECTED]> >Sent: Sep 5, 2007 10:33 AM >To: 'The Horn List' >Subject: RE: [Hornlist] What the heck? > >Well...that's only mildly insulting. After all, isn't movie music a >viable genre of classical music? Many colleges are teaching movie music >as a new era in classical music (I've heard some refer to John Williams >as "Neo-Romantic"). Some might even argue that the Firebird and Rite of >Spring were early versions of movie music. Didn't Aaron Copland and >Dmitri Shostakovich write a good amount of movie music too? > >Perhaps I would suggest that those who do not accept this as a viable >form of classical music have their heads buried in the sand and are part >of the reason for the steady decline of ticket sales for symphonies >world wide. After all, how many times can an orchestra play Haydn 94 >before it's no longer a surprise to the audience? > > > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On >Behalf Of Daniel Canarutto >Sent: Wednesday, September 05, 2007 7:06 AM >To: The Horn List >Subject: Re: [Hornlist] What the heck? > > >>Am I the only one experiencing this unpleasant phenomenon? >> >>Peter Hirsch > >You aren't. (You forgot Conn series numbers.) >Many were not on the list the last time an old thread was discussed. We >must also realize that many on the list are more interested in >movie music than in classical literature. > >Daniel >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c >om > >No virus found in this incoming message. >Checked by AVG Free Edition. >Version: 7.5.485 / Virus Database: 269.13.5/988 - Release Date: 9/4/2007 >9:14 AM > > >No virus found in this outgoing message. >Checked by AVG Free Edition. >Version: 7.5.485 / Virus Database: 269.13.5/988 - Release Date: 9/4/2007 >9:14 AM > > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Natural Horn--repertoire
Hi Robert--If you have another [natural] hornist and some other [historical] wind players, there are a lot of serenades, divertimenti, etc. by Mozart, Haydn, and others that are not as virtuostic as the Beethoven Sonata but are fun to play. I think the valvectomy approach is a good starter. Have fun--Susan Thompson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] centering pitch
Yes, in California, sometimes one can play alone in an ensemble...it's a West Coast thing. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, May 17, 2007 10:27 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] centering pitch Even in California? Just another question. KB In a message dated 5/17/2007 4:54:58 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: On 05/17 22:51, hans wrote: > Do you play alone most of the time ? Just a question. When I practice I usually am by myself. When I'm in an ensemble, there are usually other people present. -- Evan Cofsky <[EMAIL PROTECTED]> Play in a classical music Garage Band. See the world. http://www.mylifeismusic.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/kendallbetts%40aol.com ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] getting the class' attention (was getting edgy)
Hi--This inattentive noisiness is also a problem in the US, not only in schools but also in professional settings. I saw one speaker handle it this way: He said softly (so it couldn't be heard much beyond the first row, "If you can hear me, clap your hands once." He repeated this a few times, and each time the number of people who could hear him (and who clapped their hands) grew. In less than a minute, the meeting (of about 150 people, as I recall) was quiet and paying attention to him. Your mileage may vary, but I plan to try it the next time I am in such a situation. --Susan Thompson -Original Message- >From: hans <[EMAIL PROTECTED]> >Sent: May 15, 2007 8:43 AM >To: 'The Horn List' >Subject: RE: [Hornlist] getting edgy > >Hello Daniel, there is a simple solution: > >As soon as the class gets loud, speak softer or just wait. >Tell them. If they were telling jokes or stories each other, >they should speak louder so everybody in the room can follow >their stories or understand their jokes, but they might not >be much surprised not getting a job after school. > >Be sure, they will change their attitude quickly. > >This phenomenon is not typical Italian, it is a phenomenon >of world wide hysteria due to the tsunami of stupidity & >noise in our mass media & our society. A severe defect. The >same applies to playing music. > > >== > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On >Behalf Of Daniel Canarutto >Sent: Tuesday, May 15, 2007 11:25 AM >To: The Horn List >Subject: RE: [Hornlist] getting edgy > >>There is an old saying: if you cannot hear the solo, you >are too loud. > >In a similar sense, but NHR. I often teach to a large >classroom (about 200) of youngsters who do not understand >keeping their mouths shut. But they complain if they can't >hear. I have to shout just in order to be heard. Or I get >amplification, so that they can chatter even louder... > >But, you know, they are (mainly) Italians. I imagine that in >the anglo-saxon and protestant worlds students are more >disciplinated. > >Daniel >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/hans%40pizka. >de > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: NHR--tribalism (was Bernhard Heiden)
The term "tribalism" may be used to describe this sort of "jealousy, hatred, false propaganda, religious prejudice"--see http://www.theatlasphere.com/columns/070321-machan-ails.php --Susan Thompson -Original Message- >From: hans <[EMAIL PROTECTED]> >Sent: Mar 21, 2007 7:33 AM >To: 'The Horn List' >Subject: RE: [Hornlist] Bernhard Heiden > >Hello all, I just wanted to throw a bit of attention to the >fact, that prejudice can be everywhere and that any >discrimination for whatever reason is unjust & - I am just >missing the right terms for such nonsense. > >Yes, Steve, you are right, we should & could use all these >terms: white, Kongolese, mosaic, short, Nordic, Indian, >buddhist, Caucasian, Aryan, African, Asean, Polak, Ukrain, >Srb (that´s how the Serbs spell it), Greek, Catholic, >musical, loud, tall, heavy, blond, curled hair, etc. - all >used without valuation, well, or without discriminating each >other, all would be fine, just like blue or red flowers, >tiger or lion. But we all are victims of jealousy, hatred, >false propaganda, religious prejudice etc. like in our >narrow field of horn playing. Why finding the French style >with the vibrato comical ? (just an example) If things are >in harmony, things turn out in beauty. And this has nothing >to do with one´s often very narrow preferences. Enjoying the >great variety in life, - that´s it what´s making life >interesting & worth to live. > >Off course, I do prefer the Viennese style of horn playing, >but not exclusively & not for all kind of music. > > >=== > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On >Behalf Of Steve Freides >Sent: Wednesday, March 21, 2007 3:15 PM >To: 'The Horn List' >Subject: RE: [Hornlist] Bernhard Heiden > >It's also possible the original poster is doing a paper >about Jewish composers, preparing a concert program in >connection with a Jewish Holiday, or something along those >lines. > >I think it's worth mentioning that younger people seem to >have a different attitude about race and religion these >days. My oldest son, who is 14, and his friends use racial >and ethnic terms amongst themselves, sometimes as jokes, >sometimes simply as descriptions of what they see in the >world around them, and no one seems offended. The first few >times I heard such conversations, I objected, both to my son >and to his friends, and I told my son I would talk to his >friends' parents if this sort of thing continued, but I have >come to realize that nothing bad is meant by it, and I try >not to take too much offense. At least in our town here, >quite a wide range of ethnic groups and religions are >represented, and the conversations my son has are not about >"others" but rather about, and with, his friends. There can >be a fine line in things like this, a line that is difficult >to see, I realize, but speaking as a parent, I realize it is >my obligation to try and see it in as much detail as I can. > >So, innocent of malice and prejudice until proven guilty on >asking about whether or not Bernhard Heiden is Jewish, >please - that is my request. I saw nothing objectionable - >potentially objectionable, yes, but no offense was >committed, in my opinion. > >Steve "still getting used to playing a Bb single" Freides > > >> -Original Message- >> From: Steven Ovitsky [mailto:[EMAIL PROTECTED] >> Sent: Wednesday, March 21, 2007 9:50 AM >> To: 'The Horn List' >> Subject: RE: [Hornlist] Bernhard Heiden >> >> >> Hans, >> I mostly agree with your comment, although I am assuming >that Mara >> just wanted to know more about Heiden's biography and the >possible >> reasons he came to the US. >> >> I certainly hope that that she doesn't use this >information to place >> any type of value on Heiden's work other than what is in >the music >> itself. >> Unfortunately, we all know what can happen if value or >discrimination >> occurs due to political, racial or religious, or any other > >> orientation. >> >> Cheers, >> Steve >> >> Steven Ovitsky >> Santa Fe Chamber Music Festival >> = >> >> Steve & Mara, >> >> Does it really matter if a composer or writer or other >artist was of >> Jewish or Italian or German or Russian origine or not ? >Isn´t the >> quality of his or her creations the
RE: [Hornlist] Horn-Saxophone composition principles
Several years ago (i.e., a few decades ago),I did hear a record of the Los Angeles Saxophone Quartet playing the Art of the Fugue. They were very good. --Susan Thompson (who usually does not have nice things to say about saxophones) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Sunday, November 19, 2006 11:32 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Horn-Saxophone composition principles Richard Smith wrote: >In writing for a concert band, the problem is that, wanted or not, you >have to write for saxes if you want your music played. It is said the Bach's "The Art of Fugue" was not written to be actually played, but more like a theoretical exercise. Even so, I can't wait listening to it played by a quartet of saxophones. Daniel Canarutto mathematical physicist & dedicated amateur hornist ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR: small 18th century period performance ensemble needed to help open a bed and breakfast in rural Pennsylvania, USA
Please excuse the multiple, non-horn-related post. A former colleague of mine is leaving Information Technology and opening a bed and breakfast in rural Pennsylvania, USA. He thinks that it would be nice to have a small ensemble (possibly a string quartet, but maybe some other combination) on hand and playing at various times during the opening weekend. Could anyone help with: Recommendations of groups in that area that play well An idea of how much it might cost to have such an ensemble "resident" for a weekend. Thanks so much! -Susan Thompson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Horn Digest, Jay Kosta on tuning
Corenut (Foxy) says WRT Jay's comments on temperament: I'm intrigued by your "piano thirds sounds terrible"! Consider the Thomas Young well temperament--see (http://www.math.uwaterloo.ca/~mrubinst/tuning/tuning.html), for example. To make this horn-related: if you can get together a pianist and a tuner who are willing to experiment with tuning a piano in the Thomas Young Well-Temperament and a natural horn crooked in F, then try the Beethoven Sonata with that combination--it sounds a _lot_ better than with equal temperament --Susan Thompson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: College Ear Training & Sight Singing
Similarly, I have heard about a clarinet player who didn't think he needed to know about anything prior to the classical era, because his instrument wasn't invented until then.... --Susan Thompson Steve Mumford wrote It used to be popular among many of my classmates to say "I don't need to learn theory, I'm a performance major". It's easy to pick that kind of person out by the way they play. Dave wrote: We spend several hours a day doing harmonic and formal analysis of= everything from Bach chorals and cello suites to Wagner opera and roman= tic symphonies -next year is 20th century harmony and analysis- in addit= ion to a lot of 4-part embellished choral writing, and arranging things = for various instrumentation. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
Perhaps they were playing the oboe parts? Christine Ranson wrote: >I know of 2 trumpet players who have blacked out and had their piccs >written off whilst performing Arrival of The Queen of Sheba. Then Steven Ovitsky wrote: >That's quite a feat, considering that the Arrival of the Queen of Sheba has >no trumpets. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: NHR writing advice (was [Hornlist] horn advice)
Many books have editors (or at least they used to; based on the sloppiness of some recently published books, I'm not sure if they do anymore). Most people don't read, let alone edit, emails before sending. If you couple that with the perceived need of some people to express themselves without considering their audience, you get a result that is (to at least some members of this audience) indistinguishable from laziness and/or sloppiness. People who read carefully are more likely to be offended by laziness and/or sloppiness--but they are also more likely to be the ones from which you will get the best feedback. Consider editing your posts before sending them, if only for the selfish reason of getting response about the substance rather than the style. --Susan Thompson -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlberg Jones Sent: Monday, May 15, 2006 7:19 AM To: The Horn List Subject: RE: [Hornlist] horn advice Greetings - There's an article in the Christian Science Monitor today on e-mails - http://www.csmonitor.com/2006/0515/p13s01-stct.html - which I found interesting. " . . . First and foremost, e-mail lacks cues like facial expression and tone of voice. That makes it difficult for recipients to decode meaning well. . . . " I'm always wondering why writing and understanding e-mails is thought to be difficult. After all, most of us read books and we have a reasonable understanding of what the author means, even though we generally don't communicate with him. Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pieta, Signore!
I believe it is also in "Solos for the Horn" edited by Mason Jones. I think he may have called it something else in that collection (sorry not near my music library at the moment). -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Friday, April 21, 2006 6:38 AM To: 'The Horn List' Subject: RE: [Hornlist] Pieta, Signore! Just to confirm what I said yesterday, this is indeed contained in: Twenty-Four Italian Song and Arias of the Seventeenth and Eighteenth Century It's published by G. Schirmer, and there is an edition for medium-low voice and another for medium-high). It's in D-minor in one and A-minor in the other, concert pitch, of course, as it's for voice and piano. Some of these songs appear in more than one collection - not sure if this appears elsewhere but this collection is a mainstay of vocal teachers everywhere. Wonderful stuff for beginning singers. I have no idea what relation, if any, this music has to the recording you mention. -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of [EMAIL PROTECTED] > Sent: Thursday, April 20, 2006 7:27 PM > To: horn@music.memphis.edu > Subject: [Hornlist] Pieta, Signore! > > Does anyone know if there is a piano rendition of the Pieta, > Signore by Stradella and arranged for horn and orchestra by > Moshe Zorman and played beautifully by Meir Rimon on his > Premiers of the Old & New CD? > > Ron > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] re: Handel (was Mozart)
I believe what Beethoven said of Handel (translated into English) was: "Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave". -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Mark Kolbo Sent: Tuesday, April 11, 2006 8:44 AM To: horn@music.memphis.edu Subject: [Hornlist] re: Mozart Steve Freides wrote: > Mozart is arguably the greatest composer to ever have walked > the face of this Earth. and Kendall Betts said: > Well, I agree with the second sentence completely but I think > J.S. Bach is arguably the greatest composer ever. Isn't that what Beethoven said of Handel? M. Kolbo __ Switch to Netscape Internet Service. As low as $9.95 a month -- Sign up today at http://isp.netscape.com/register Netscape. Just the Net You Need. New! Netscape Toolbar for Internet Explorer Search from anywhere on the Web and block those annoying pop-ups. Download now at http://channels.netscape.com/ns/search/install.jsp ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart
It sees to be a trend. The local FM classical station in Southern California is also doing this: KMZT 105.1 FM. Bill Gross wrote, in part: > The local FM radio station WRR 101.1 FM is doing an all day Mozart thing. > It is also going to do a real time broadcast from Salzburg when all the > Churches are set to ring their bells for seven minutes to commemorate > Mozart's birth. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR - band teachers
I apologize for my previous incomplete post. We have similar problems in the US. The best-behaved, ready-to-learn, attentive students I have seen are either: --From immigrant families in which the parents immigrated, at least in part, to improve their kids' opportunities. --Home-schooled by parents who don't want to subject their kids to this kind of thing. --Susan Thompson Olav Traa wrote, in part: > This was a private school from wealthy families, supposedly the future > of society. From my perspective, it may take a small miracle for > society to survive their arrival. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR - band teachers
Olav Traa wrote, in part: > This was a private school from wealthy families, supposedly the future > of society. From my perspective, it may take a small miracle for > society to survive their arrival. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pooot Pooot
Bravo!
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of David Goldberg
Sent: Wednesday, October 19, 2005 6:02 PM
To: The Horn List
Subject: [Hornlist] Pooot Pooot
On Wed, 19 Oct 2005, Hans wrote:
> ... when player still struggle for the right notes,
> when they have no idea about the meaning of some
> interpretation notes by the composer (hey, where is the
> dictionary ???). And if they got the translation, they have
> no idea how to realize it. If they have no idea about how to
> change the horn tone colour. If they have no tone at all,
> just who wh or pooot pooot. Just any more or less in
> tune noise coming out of the bell, - and they believe it
> were a horn tone just because coming out of a horn bell ?
> Ridiculous !!
>
>
The poetical villanelle form consists of 5 stanzas of 3 lines each
terminating with a 4 line stanza. The first and third lines of the 1st
stanza must rhyme and be repeated alternately as the 3rd line of the
next 4 stanzas; then they end the poem as the 3rd and 4th lines of the
last stanza. The 2nd lines of each stanza must rhyme.
==
Pooot Pooot:
A Villanelle for the Villanelle
Would that I had learned the flute.
Alas - the horn is what I knew;
I make the awful sound pooot pooot.
The Villanelle, it is a beaut -
But I'm getting gorgeous notes too few
Would that I had learned the flute.
No time to lose! In goes my mute -
The hurried seconds all too few.
I make the awful sound pooot pooot.
If only I'd been more astute,
I'd hap'ly start my life anew.
Would that I had learned the flute.
Perfection is my one pursuit;
I'm sorry for the clams I blew.
I make the awful sound pooot pooot.
Please don't be a big galoot -
Don't taunt me when I go who who;
Would that I had learned the flute -
I make the awful sound pooot pooot.
==
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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RE: [Hornlist] South Africa
If you want something closer to home, why not sponsor a local "horn day" (or weekend). Also, there are several regional workshops that I hear of from time to time, why not go to one of them? --Susan Thompson -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, July 26, 2005 11:06 AM To: horn@music.memphis.edu Subject: [Hornlist] South Africa What about an American Horn convention in 2007? This of course wouldn't exclude anyone and would welcome persons of all nationalities. Anyone ambitious enough to give it a go? Thanks, Josh Johnson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
horn@music.memphis.edu
Will your next performance be Nanki-Poo in the Mikado? David Jewell said, in part: I just finished a fun and exhilarating set of performances of "The Pirates of Penzance" with my long time G&S troupe. I hope that no one feels betrayed, for I played 2nd trombone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] UK attack - NHR
Or maybe it's time to start dealing with people as individuals instead of as members of tribes? --Susan Thompson Bill Bamberg wrote, in part: [snip] Maybe it's time to sift all the philosophies and religions for the universal message and teachings. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] PBS (NHR) (was Lincoln Center Concert)
The whole problem with using any tax money to subsidize any activity is that it encourages such irresponsible, rent-seeking behavior. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Fred Baucom Sent: Thursday, June 16, 2005 8:35 AM To: The Horn List Subject: Re: [Hornlist] PBS (NHR) (was Lincoln Center Concert) I agree that our local NPR radio stations seem a bit off-center, politically. But have seen no evidence of that on PBS television. Regarding your 'power base' statements, do you believe that programming/direction on public broadcasting should reflect the philosophies of who happens to have political power at any particular time? Fred Bill Gross <[EMAIL PROTECTED]> wrote: NPR/PBS dug its own grave. It set out to target a certain segment of the political spectrum. The power base shifted and they back the wrong horse. It's time to pay up. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rossini's "La Cenerentola"
... and here I was thinking that LA basso was a particular kind of basso indigenous to Los Angeles, and I was going to go out and look for one... -Original Message- From: Herbert Foster <[EMAIL PROTECTED]> Sent: Mar 24, 2005 10:07 AM To: The Horn List Subject: Re: [Hornlist] Rossini's "La Cenerentola" Some of us are slow at: Do = C Re = D Let's see, "Do a deer, a female deer..." Oh, yes, La = A Herb Foster --- [EMAIL PROTECTED] wrote: >Greetings, >A long time silent observer I've a question. In La Cenerentola, Act > One, Scene Three, in the Andante grazioso section, the part asks the horn to > play in LA Basso. I've never heard of this transposition and respectfully > ask > for any help. Thank you in advance. > >David Miller >Keene Chamber Orchestra >Keene, NH > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > __ Do you Yahoo!? Make Yahoo! your home page http://www.yahoo.com/r/hs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recycled Music...
Isn't it all Mozart's stuff? -Original Message- From: Ray & Sonja Crenshaw <[EMAIL PROTECTED]> Sent: Mar 3, 2005 10:19 AM To: horn@music.memphis.edu Subject: [Hornlist] Recycled Music... > ...the motif that occurs in twice in the first movement of the 3rd > Mozart Horn concerto (la da da da, la da da da, la da da da dee)? > Well I heard that same motif several times in one of Mozart's Piano > concertos Would a simple check of Opus numbers tell us whether the piano got OUR stuff, or we got HIS? Inquiring minds, etc... jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR Currency Converter/arithmetic
David Goldberg wrote, in part: > About half of my students study from basic arithmetic to > pre-algebra, and many of them have no intuition for what needs to be done > in a given situation. Multiply? Divide? If divide, then which way? > Percents? Forget it. I recently wrote some report specifications for a client that asked for, in part: The percent of the total of each item The percent change between two items The programmer came up with bizzare numbers in each case, so I wound up specifying how to calculate each item. And he isn't stupid, just ignorant and poorly educated (even though he probably has a college degree in computer science). --Susan Thompson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR slow international shipments
FWIW, it seems that international shipments are very slow right now. For example, I have not yet received an opera score from different supplier that was sent from Germany on 11/9. --Susan Thompson David Thompson wrote, in part: >That music was sent from our European office almost immediately after >receiving your order and so has now been in transit for more than a week. I >would think that it should arrive in New York any day now. Normally, it >would have arrived by now, but the transatlantic airmail service typically >runs a bit slower this time of year due to the holiday-season increase in >mail volume. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tchaikovsky hijackings (was melody Tchaikovsky 5?)
A while back, I attended a concert that included Tchaikovsky 4th with a pianist friend who mentioned before the concert that he didn't think he had ever heard this symphony. I predicted that most of it would sound familiar from movie music (and I was right!). --Susan Thompson -Original Message- From: John Mason <[EMAIL PROTECTED]> Sent: Sep 13, 2004 10:33 AM To: [EMAIL PROTECTED] Subject: RE: [Hornlist] melody Tchaikovsky 5? About grand theft, melody, Stan wrote: >"Moon Love" - originally (I think) recorded by Glenn >Miller. Certainly recorded by Miller. Had just about the most appalling lyrics imaginable: <http://www.lyricsdepot.com/glenn-miller/moon-love.html> Alexandr Borodin was much better served by Stranger in Paradise, from the musical Kismet. (Melody from Polovetzian Dances.) <http://www.stlyrics.com/lyrics/kismet/strangerinparadise.htm> --John = J Mason Charlottesville, Virginia >>New! Democracy of Speed, a Photo Documentary Project: http://www.people.virginia.edu/~ds8s/john-m/john-m.html ___ Do you Yahoo!? Shop for Back-to-School deals on Yahoo! Shopping. http://shopping.yahoo.com/backtoschool ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/didoslament%40earthlink.net ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist]dissonances and resolutions (was Tchaikowsky's 5th)
Eldon Matlick wrote, in part: >Identify harmonic suspensions, appogiaturas, and other points of >expression. >Let clashing notes on suspensions get weight/energy and let the >resolution relax the tension. This is a very important (and often overlooked) point. It is particularly easy to get sloppy about this if you are performing a lot of 20th century music and don't mentally "switch gears" when performing tonal music. --Susan Thompson ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing a trombone
On Thursday, August 19, 2004, at 09:29 AM, blackjack_ cajun wrote: > can some of you share some insights on playing a trombone and horn at > the same time? > what do you guys think? > ...but seriously, if you meant playing horn and then playing trombone not at the same time but perhaps on the same day, there seems to be a lot of individual variation. I doubt that a professional hornist would do this, and many serious/dedicated amateurs would not either. That said, I have known several amateurs who have played both without problems--they tended to be flexible people who did not obsess about equipment and were not playing extremely challenging repetoire on either instrument. Reading the different trombone clefs (bass, tenor, alto) can be useful for improving your musical knowledge and may help your facility at transposition, and using a slide rather than valves can be useful for experimenting with intonationand you will probably have very solid petal tones on the trombone as soon as you start playing it; for some reason, this impresses some trombone players. --Susan Thompson ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR Spell check and a bit of irrelevant info
<[EMAIL PROTECTED]> mentioned misspelling Mozart as "Motzart" I was at USC when Robert Marsteller (LA Phil trombonist and a wonderful brass teacher) taught there. He once mentioned that one student kept submitting a paper in which "Debussy" was misspelled, and Marsteller kept returning the paper and telling the student to discover and fix the problem. It took several iterations of this before the student discovered his mistake. The poster for one concert of an amateur orchestra I played in at about the same time had both "Motzart" and "von Williams" listed. To drag this back into the realm of horn related, the music librarian in the amateur orchestra mentioned above was a string player. The first concert had no English horn parts, but he kept putting the English horn part in the horn section (1st horn, 2nd horn, 3rd horn, 4th horn, English horn), and no amount of telling him it wasn't our part would stop him. It was only later, when we were rehearsing a piece that _did_ have an English horn part, that the 2nd oboist asked for the part...and made a _very_ caustic comment when he discovered where it was. Susan Thompson ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Anna Russell
Yes, the horn one is hilarious, but the ring is still my favorite: when
she mentions that Siegfried had just seen the first woman in his life
who was *not* his aunt, it got a big laugh, and the following line, "I'm
not making this up, you know" got a bigger one.
I saw her live in the 70s; during that performance she mentioned that
she had been doing the Ring Cycle skit for so long that some of the
people who had first enjoyed it were bringing their grandchildren to
hear it.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]] On Behalf Of phirsch
Sent: Tuesday, January 14, 2003 6:38 PM
To: [EMAIL PROTECTED]
Subject: [Hornlist] Anna Russell
OK, OK,
For several months now, I have been following hornlist affairs from afar
and found myself, for some reason, with little to add to anything and
when
I did occasionally think of something to say, I'd be swamped with NHR
business (new job, family, etc.) and never get around to formulating a
message.
But now,
I have in my possession a DVD entitled "Anna Russell : the (first)
farewell
concert" (VAI DVD 4208). On it is her deconstruction of the Ring Cycle
("I'm not making this up, you know"), but even more horn related is the
track "Wind instruments I have known" which features her playing the
horn
(though playing might not be the most applicable term). The performance
took place on Nov. 7, 1984 at the Baltimore Museum of Art and has the
look
of a PBS production.
And, yes, it is funny.
Later,
Peter Hirsch
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